FROM THE ESTATE OF DR. EDMUND P. PILLSBURY. JAMES HYDE (American, b.1958). Climate, 2002. Mixed media with sewn nylon ...

Description

FROM THE ESTATE OF DR. EDMUND P. PILLSBURY

JAMES HYDE (American, b.1958)
Climate, 2002
Mixed media with sewn nylon webbing
88 x 88 x 8 inches (223.5 x 223.5 x 20.3 cm) (variable depending upon installation)

PROVENANCE:
Brent Sikkema Gallery, New York, October 2002

EXHIBITED:
New York, Brent Sikkema Gallery, James Hyde, September 6 - October 5, 2002

LITERATURE:
Cover illustration, ArtNews, April 2005 (full-page reproduction of this work illustrating cover story, "What Makes a Painting a Painting?")

NOTE:
Climate belongs to a group of works which Brooklyn painter James Hyde has dubbed his "Wall Drawings." Constructed of colorful nylon chair webbing, Hyde configures the linear elements into different shapes and patterns, sometimes vaguely representational in effect and sometimes not.

In a marvelous interview with painter Archie Rand for Bomb magazine (Spring 1999), Hyde candidly discussed his philosophy of art-making, which has involved many types of materials over the years. He said that he considers himself a painter--and everything he makes a painting--regardless of whether it's made of wood, glass, nylon (as in the present work), chrome, steel, plastics, photographs, and even paint. As a formalist, Hyde acknowledges: "Fundamentally, I enjoy making things and looking at things; that's what studio practice is about. If you're not enjoying the materials--how they come together, the play in the work--it doesn't really matter what ideas you have because they're left for dead. They should feel animate. This may sound corny, but art is something that affirms being alive and having pleasure." In a remark that would have deeply resonated with Ted, whose appreciation of contemporary art was powerfully visceral, Hyde stressed: "If I put crumpled foil on the wall, I need to know what language frames that crumple so that it comes as a surprise or seems striking. I look at art to learn the language of art making. It's wonderful because it is a long and complex process; learning is always involved. Making art work has to have discovery. If it doesn't, it loses its quality of being real for me."


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